Introduction
Wat Thong Thammachat Worawihan is a temple located in the Khlong San area of Bangkok. It is a third-class royal temple. Originally, it was built by common people(meant not by royal), and although the exact date of its construction is unknown, it is believed to have been built during the Ayutthaya period. The temple has undergone several renovations and name changes before receiving its current name. In the past, it was known as Wat Thong Bon.
When we visited here, it didn’t feel like a grand or luxurious temple for tourists. Instead, it gave us the feeling of a calm and peaceful place meant for the local community.
History and Background
Wat Thong Thammachat is believed to have been first built during the Ayutthaya period, although the exact year is not known. Over the centuries, the temple has been repaired and changed many times, with each period adding its own architectural and cultural features.
According to the book “Wat Thong Thammachat” by Praphai Viriyabhun, published in 1982, the temple was in ruins during the reign of King Rama I (1782–1809). At that time, the king’s younger sister, Princess Kromluang Narintrathevi, and her husband, Krommamuen Narinthraphithak, helped restore the temple. This restoration was part of King Rama I’s efforts to revive Buddhism after Bangkok became the new capital.
Later, during the reign of King Rama III (1824–1851), another major renovation took place. The king’s younger brother, Kromkhun Dejadison (later known as Kromphraya Dejadison), led this work. With royal support, the temple was expanded and received a new royal name: Wat Thong Thammachat Worawihan. From this time, the temple’s status was raised, and it became more important as a royal temple.
In 1915, during the reign of King Rama VI, the temple’s ordination hall (Ubosot) was almost completely rebuilt. The goal was to preserve the original beauty and artistic style of the building, while also keeping Thai traditions alive in a modernizing country. Since then, many smaller repairs have been made to the temple buildings, and Wat Thong Thammachat continues to be an important part of Thai culture and religion today.
Architecture
The Ubosot (The Ordination Hall)
The Ubosot has a porche and two-paneled doors at the front and back of the structure, as well as five windows on both sides. Particularly noteworthy point is that the stair-cases to the porches are placed not at the front, but on the left and right sides. It seems to be a way for people to approach the Lord Buddha indirectly with a respectful and humble posture.
A gold colored image of the Lord Buddha is seated in the posture of the ‘Bhumisparsha Mudra (Earth Witness Gesture)’. Its right-hand reaches down towards the Earth and its left-hand rests on the lap. This is for dispelling Mara (the demon of illusion) which distracts meditation to leach spiritual awakening*.
A pair of Shinha statues is placed in front of the gateway to the ordination hall, facing outwards to ward off demons and negative energies.
Big peaces of stone are placed in front of the gateway, reminding people to be prepared both in appearance and in sprit before entering into the sacred area to keep it purified.
Unique stucco mouldings in a ring-like shape, decorated with glass mosaic are placed at the top of the stair-cases.
Their dress and hairstyle are Manchu. They are also seated in the posture of the ‘Bhumisparsha Mudra’, facing towards the Ubosot. As flowers are offered to them, people worship them as well as the Lord Buddha inside the Ubosot.
A white stupa is placed at the four corners of the temple, defining the spiritual enclosure.
The ubosot is surrounding by eight boundary markers in the style of the early Rattanakosin Period. The Sema is placed inside the shelters in the shape of canopied seat with lotus bud finials on the top.
Those markers differentiate the designated sacred space from the secular world. Important functional ceremonies such as upasampada (higher ordination) and uposatha (the recitation of the code of monastic descipline) are considered valid only when these take place within a space defined by the Sema.
The Wihan (The Assembly Hall)
It is located the west of the Ubosot with two paneled doors at the front and the rear of the structure, as well as five windows on either side. After passing through the gateway, the Lord Buddha seated in the posture of the ‘Dhyana Mudra (the meditation gesture)’, positioning both hands on the lap, with the right hand resting on the left and palms facing upwards. This serves as a visual guide of meditation on the path to enlightenment for practitioners** The entrance is also at the side of the hall in the same style of the Ubosot.
There are ten black colored images of the Lord Buddha inside the Wihan. These are also seated in the posture of the ‘Bhumisparsha Mudra’ but each of them has different faces.
“The second Buddha, the fully enlightened one”
“Sadhu, Sadhu. I pay homage to the footprints of the Buddha and the relics of the supremely enlightened Buddhas named Kakusandha, Konagamano, Kassapo, and Gotama, enshrined in this temple for all eternity”
There are four footprints of the Buddhas inside the Wihan. This is an early iconic and symbolic representation of the Lord Buddha, telling people that the Lord Buddha was physically present on earth and left a spiritual path to be followed***.
Murals
Inside the Ubosot, remarkable murals illustrate the life of the Buddha alongside the Buddhist cosmological framework known as the “Three Worlds” (Traiphum), rendered in a synoptic narrative style. This visual technique allows complex stories to unfold within a single frame, making them more accessible and engaging to viewers. The murals employ a subdued color palette—typical of the early Rattanakosin period—which contrasts sharply with the vivid hues of the preceding Ayutthaya style. In addition to religious themes, the paintings feature intricate depictions of architecture and daily life during the reign of King Rama III, offering valuable insights into the cultural and social fabric of 19th-century Thai society.
The mural opposite the presiding Buddha image shows Brahmin Dona distributing the Buddha’s relics to nearby kings. The palace interior is red, contrasting with a golden curtain.
In the upper left, Mara’s attack is shown with a red background.
The Earth goddess floods Mara’s army with water from her hair, created by the Buddha’s past merits.
In the upper right, Mara’s army includes Westerners, giants, monkeys, and barbarians wearing loincloths.
Behind the Buddha on the left is a flag on a tall pole, but it’s hard to identify.
The triangular pediment below suggests renovation during King Rama IV’s reign. Behind the Buddha on the right is a bird’s eye view of Thai triple buildings surrounded by Chinese-style shops. Animals appear in the lower part.
The murals depict the life of the Buddha, beginning with his descent from Tusita Heaven as a Bodhisatta and continuing through to the events of his cremation.
Videos
Reference
Praphai Viriyabhun, 1982, วัดทองธรรมชาติ WAT THONG THAMMACHAT, Muang Boran Publishing House.
*Original Buddhas, Bhumisparsha Mudra,(https://www.originalbuddhas.com/about-buddha-statues/hand-positions/bhumisparsha-mudra?srsltid=AfmBOop856AWIgjwtGWhh2RvDyAOQeGGIXXSLjYZd9znBDKB49sxYzQC, retrieved May 4, 2025).
**Original Buddhas, Dhyana mudra, https://www.originalbuddhas.com/about-buddha-statues/hand-positions/dhyana-mudra?srsltid=AfmBOorBC9P1Ad6i2ynY0rWC6181V-7lpr0AGMeuNvXDms7zhL9H0uc3 retrieved May 4, 2025).
***Original Buddhas, The Footprint of the Buddha,(https://www.buddhastatuesforsale.net/blog/the-footprint-of-the-buddha/ , retrieved May 4, 2025).
Contributors
Junghwan, Nanami, and Chihiro
